S-R-G-m-P-D-n-S
Sarodiya Rahul Bhattacharya describes the late-afternoon Gaoti as “an underutilised gem…a pleasant, fulfilled feeling…like enjoying a perfume without actually knowing why it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (some say Bheem can be distinguished by its occasional use of komal ga in taar saptak, although this is also evident in some Gaoti renditions: e.g. Acharya Jayanta Bose‘s below). Straightforward audav ascents are balanced by sampurna descending lines which tend to run in ‘paired’ sequences (e.g. nS, DP, mP, Gm, RS).
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: SmGm, PGmPnS
Avroh: SPDP, mGPm, GmRnS
Chalan: e.g. GmPSn; SPD; PDmP; GmRnS; Sm; mPGmPnS; PnSPDP (Parrikar)
—Acharya Jayanta Bose (2013)—
[motifs & taans, e.g. 1:11] n(SnSn…) DPD; nnmPnS GGSnSG, m(g)SnS, G, m(g)SnS, GmPn S(n)S(n)S(n)S…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+
Sapta: Audav | Shadav | Sampurna
Poorvang: SRGM | SRG | SRM | SGM
Uttarang: PDNS | PDS | PNS | DNS
Varjit: Re | Ga | Ma | Pa | Dha | Ni
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
• Prakriti: Khamaj thaat, Khamaj, Jhinjhoti, Kambhoji, Khambavati, Sakh
–Swara Geometries–
• Core form: S–R–G–m–P–D–n–S
• Reverse: SRgmPdnS (=Darbari)
• Negative: 2-2-3-2-3 (e.g. Bhupali)
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (r—P)
• Murchanas: Bilawal set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Harikambhoji
S-R2-G3-M1-P-D2-N2-S
• Jazz: Mixolydian
1-2-3-4-5-6-b7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-10-0
(2–2–1–2–2–1–2)
o • o • o o • o • o o • o
• Tanpura: Sa–Pa
• Names: Gaoti, Gawati, (~Bheem)
—Shivkumar Sharma (1997)—